August 2014

AUGUST 2014

‘THE TIME IS ALWAYS RIGHT TO DO WHAT IS RIGHT’

6 THE MANC TANK

7 Guerilla Garden

4

5

YARBO

greg clifford

Scene & Heard 8-9 The Ruby Sessions 10-12 Saucy Sundays 13 The Jayhawks 14-22 23-34 35-37 38

Irish Album/EP Reviews International Album/EP Reviews Single Reviews June 2014 4x4

THE JAYHAWKS

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U& I Mus ic Magazine 26 K ings Inn S treet Dublin 1 Editor-In-Chief: Phillip Ó’ Baoighealláin Deputy Editor: Greg Clifford Writing Staff: Jamie Kelly Caitríona McKenna Valerie Scanlon Liverpool Correspondent: Joe Loftus Manchester Correspondent: Dave Beech U&I Gigs Photographers: Eric Cooper Dom Marceleno Interested in advertising with U&I? Contact: sales@unsignedandindependent.com

EDITORIAL As we come into the month of August we are reminded of what we were originally founded upon as a company- and that is an ethical one as much as it has always been about the music. We have deviated somewhat with this month’s cover because we have a co-op in Israel and also one in Lebanon. So as someone once famously said ‘Give Peace A Chance’.

That is the message we are conveying with our cover as we have not taken a side, but we did feel that our status as a magazine reaching over 130,000 people a month compelled us

are not something we should comment on. With the speaks volumes.

This month’s issue sees a new regular column come to pass DANIEL PRYE from YARBO and he also talks with up and coming band GUERILLA GARDEN. We also have THE MANC

We also have some live reviews of the Dublin music scene from Saucy Sundays and The Ruby Sessions. While our albums albums see SIMPLIFIRES, ALGENRON DOLL and FIELD MOUSE in amongst the mix. All in all it is a great issue that is completed by EP and single reviews, as well as the August 4x4.

We will be working closely with him on some new projects months and weeks that we are very excited about.

THE SCOUSE HOUSE

by Joe Loftus

International Artists

Guerilla Garden

As the crowd said goodbye to The Jayhawks by tip toeing outside of the venue I overheard and listened into a nearby conversation. Some guys were talking.

One of them was from the support band Grass House and the other, a younger guy – about my own age was telling him about his own band. I heard the band’s name -The Head Movement. I wrote it down in my notebook and then approached him and we got talking before arranging an interview for the next day. Since then they have gone on to change their name to Guerilla Garden.

I know Guerilla Garden have only been together for not much longer than a month but that must mean that right now it’s a real force field of creativity. What is it that you want to create?

We want to create an original sound that we can make people relate to and create a vibe that people can recognise.

I think originality is the hardest way to be in any form of art. It's the simplest thing when you think about, just to be yourself but to actually create something that is entirely unique and individual well... fuck that is hard!

But it’s definitely the best way to be. I love it when I listen to a new band and I can't quite label them a genre!

It makes me think and wonder, just as it does with every listener; and this has definitely been the case with The Head Movement. There must be a lot of different influences thrown into the melting pot which is the inspiration behind The Head Movement. Who are some of your influences?

Me being the songwriter my influences are more of a unique taste. Neil Young, Bob Dylan, The Band are what make me want to make music. As a band we have a wide range from RHCP to Fleetwood Mac and Fun Lovin Criminals. Our band has more influences because we have a more open mind to music. I know me and Dylan love hip hop like artists such as Nas, Method Man and Eminem always make me want to transform lyrically and give an edge to the music we create. We aren't a hip hop crazed band but we appreciate how everything is constructed and made from a few hums or whistles throughout the day.

I know this isn't really interview material but you should check out some of the French Rap scene. By far some of the best hip hop I've ever heard. A friend of mine called Keyvan from Paris got me into a whole range of different French hip hop. Check out Supreme NTM, Doc Gyneco, and IAM but anyway, the differentiation in influences definitely adds to the vibe of your music but now I'm wondering, what is it that inspires you to write?

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Neil Young. He opened my eyes and ears to how sound should be and how you can go through the day remembering little parts of lyrics and seeing the real truth behind them. For example 'Ohio'

by Neil Young really affected me as he was so upfront and expressed everything in a way where his listeners felt his anger and frustration. It is people like Neil and Bob Dylan that have come from parts of the world like me and you; a lot poorer and can still strike a heavy note inside that needs to be expressed.

The feel of what I play makes me want to write.

I love the song ‘Safeway Cart’ by Neil Young but you can't get much better than ‘Like A Hurricane’. I remember once when I was younger me and my dad were driving home from Liverpool and we stuck a live version of ‘Like A Hurricane’ on in the car and the solo was still being played when we got home about 20-25 minutes later. So where are you aiming with Guerilla Garden?

I know live at the Cow Palace is a brilliant live show. We are aiming to play our music and enjoy playing it. We aren't interested in becoming the next Simon Cowell fuck up but more about creating music we love and hopefully others will love it to.

From what I have seen of this band I’m sure they will.

THE SCOUSE HOUSE

International Artists Speaking to Daniel Pye of Yarbo – JOE LOFTUS When I was twelve, until I was about fifteen or so I had a real obsession with a local band called Paraffin Oil Shop. I spent hours listening to them day after day after day; constantly awaiting the release of their next E.P or so. I would sit and scour through their Myspace and scuttle up and down the country to see them playing live. To me they were a huge inspiration but then they broke up. I don’t know how it happened or why it happened; it just did; but then came Yarbo flourishing out of the decay. A hybrid and new wave of acoustic folk differentiating themselves from the sheep.

Taking the best from everything good in music and throwing it into the frying pan with a side order of working class anger, passion and sadness. The music of Yarbo is a cacophony of beauty. Do not just read this interview and turn the page. Google Yarbo Soundcloud or Facebook or anything and take your pick of artistry.

You’d be an utter fool not to.

So Dan, It's hard to think of a place to start so I guess I'll start right at the beginning. Has your childhood influenced your song writing in any ways or perhaps inspired you to write?

Totally I used music as a form of escape. Before picking a guitar up I found drawing and painting incredibly therapeutic but then music came and massively took over. From the moment I could string a few chords together I lusted to write songs. My dad was always writing songs when I was growing up and that was certainly - now I look and think back - my biggest influence.

Through this influence I really grew to love songwriters like Dylan, Simon and Garfunkel and The Beatles all of whom gave me unbelievable inspiration.

So where did the first bursts of inspiration come from, do you remember?

The first bursts of real inspiration I can remember were given to me by a guy called John Hamlin. John was a guitar teacher in Widnes who had been in bands in the past and I would visit for a few lessons when I was about fifteen or so. He opened my eyes to the likes Lou Reed and The Velvet Underground, Hendrix and The Doors. He was well versed in all songwriters and he inspired me to write. I would leave his lessons after spending maybe the whole hour just discussing music being overwhelmed with inspiration.

I was also taught by John for a year or so when I was the same age and we’d do the exact same. Sometimes just sitting and talking about different writers, artists and musicians for fifty minutes or so and then learning a track of Bowies or so for the remainder of the lesson.

John introduced me to a lot of different people. I remember when he gave me his copy of In Search of Lost Time by Marcel Proust and that definitely had an impact on me! Anyway where does your inspiration

come from nowadays after writing no doubt over one hundred / two hundred songs?

I’ve met so many great musicians over the past few years, young and old and they inspire me so much. Guys with all the talent in the world playing in bars and pubs and yet left to be so underappreciated but still playing with all the passion in the world. Some of the most inspiring performances I have seen have taken place in small bars to maybe half a dozen drunkards.

You’ve just got to walk around with your eyes open at the right time.

I remember when I was just a little kid myself, probably only 6 or 7 and I went to see your old band North rehearsing in the basement of the Appleton. That must've been ten years ago at least now! Definitely over seven years ago. And to be continuously writing even for that long shows some serious dedication. To go from North to Paraffin Oil Shop and then to Yarbo - it’s a long road. Why is it that you love writing and playing music so much?

‘‘To be honest I don’t even

feel like I’ve started yet. I love what a song does.. what that creative outlet can inspire. I love the people that it brings, the journey that it brings; it’s such a part of who I am I couldn't imagine not writing.’’

To be honest I don’t even feel like I’ve started yet. I love what a song does; what that creative outlet can inspire. I love the people that it brings, the journey that it brings; it’s such a part of who I am I couldn't imagine not writing. Performance is different, every live performance is different, whether in a good way or a bad one - it’s a special thing.

Being a songwriter.

Has the split of Paraffin Oil Shop changed your songwriting?

Going back to your childhood. Who was the first major influence that had an impact on you as a person?

Paraffin Oil Shop was a laugh with me and my three best mates.

It took my songwriting to a new place and challenged it. Being in a band with people you have so much respect for makes you want to be the best you can be and I feel lucky to have had that experience.

Dylan - he is the man.

If you could go back five years and change things would you?

Not a single thing. Ask me in another five years and I might have changed my mind.

What's been the best thing you've had to go through as a songwriter?

Just everything to be honest. From sitting down one day and penning a little song out on my own in my room and then walking out the door with it and just watching as it takes you from one place to another until the song is complete. I love everywhere that songwriting has taken me to and everyone it has taken me to.

What's been the hardest thing you've had to go through as a songwriter?

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Have you ever considered just leaving it all?

I don't feel like I have made anything worth leaving yet. But I will, and then I'll leave it.

And how have these influences changed and developed?

As I got older I listened to his later stuff and it blew my mind then I found the likes of Conor Oberst and that’s changed things too.

What have you been up to with Yarbo recently and what are your plans for the near future?

Recording in churches; putting a really cool band behind me working on new material and planning world domination. In the near future I will be putting out my final EP which I am working on at the minute with some really awesome people and I can’t wait until it is done!

Where are you going with Yarbo?

I just want to create some great, meaningful and soulful music with some great players and friends and then to go out and perform it to the highest possible standard to whomever will come along and listen. So I guess I’ll just go along wherever that takes me.

THE MANC TANK

by David Beech

Having started life as a modest club night in a ramshackle pub on the outskirts of Manchester, Scruff of the Neck have spent the last five years expanding themselves, building on their knowledge and experiences, eventually arriving at the point they're at now; a self-sufficient creative collective whose sticky fingers are lodged firmly in myriad musical pies.

Whilst their many services may well echo those also at the disposal of major labels, Scruff of the Neck ply their trade with a love befitting of their independent nature; what they do is for the love of the music, not the love of the money. As such they've made it their personal mission to “rejuvenate Manchester's music scene” (Emma Wilkinson, Vita Magazine) through offering local bands multiple platforms from which to promote themselves, regardless of the size or popularity of the band in question.

From club nights to record releases, equipment hire to website building, there's not many industry avenues that still remain unexplored, and it's this devotion to their cause that will make Scruff of the Neck the cultural force they're inevitably becoming.

With a host of acts already included in their ever-expanding roster of artists, it's easy to see why people are getting excited about the label. One reason they should be excited, is Scruff's ability to see the bigger picture, resulting in numerous partnerships that benefit all involved. Most recently of which, saw the label join forces with another local label MUK Records. Whilst this is a move which will undoubtedly bring exposure to all parties involved, predominantly it will provide a bigger platform for the artists under both names, harking back once again to the unwritten ethos of “Music First”.

Scruff of the Neck certainly aren't alone in their venture; there are other labels working tirelessly in Manchester to provide a bigger platform for those bands overshadowed by the city's history and the stereotypes the history in turn perpetuates. What sets Scruff apart from the likes of SWAYS however (a collective based just outside of Manchester in Salford) is their approachability. There aren't any airs and graces about them that can ultimately end up feeling pretentious. They're down-to-earth and grounded in the fact that music matters more than anything else they're doing, something ultimately intrinsic to their work, the mounting momentum behind it, and their popularity. I caught up with Mark Lippman to see chat about what it is that makes the label tick.

Hi Mark, Thanks for taking the time out to have a chat and answer some of our questions. First of all, can you outline the ethos behind Scruff of the Neck and tell us what it is you set out to do?

The ethos behind SOTN can sometimes come across as a bit too good to be true for artists, but as a record label, promoter or manager the number one rule has to be ‘if the band makes it, we make it.”. We acknowledge artists can do a HELL of a lot on their own these days, so I suppose what we can offer is another set of eyes and to pass on our experience so that the artists can share best practice. In the way we conduct ourselves, I’d say it’s a little more corporate and geeky; we are always trying to utilise obsessive compulsive organisational skills and modern technology to mean we can do more than your average person in what really is limited time! It’s all about playing to strengths and then trying to connect people who can help bridge your skills & network gaps.

have been so supportive of us since day one, letting us commandeer a large space on floor one for our recording studio!

Has that plan changed much as you've expanded? Or has it just become more ambitious?

Manchester is obviously a city with a massive amount of music happening within it. What do you think it is that makes the city the culturally rich place it is?

It’s evolved a lot really. It’s a bit of a cliché but you genuinely ‘can’t stand still’ in the music industry. The minute you come up with a ground breaking concept, someone is immediately there to jump all over it, something we have been guilty of to! I believe the main thing that’s driven us is my desire to think outside the box. I always want to ‘do’ as well, I NEVER sit back and wait!

I absolutely love the people. You rarely meet a selfish Manc, no matter what walk of life they come from. It’s again a bit of a cheesey answer but I would be lost without the people of this city, they make our lives so much better!

I’m marrying one in October and have a baby Manc now (Alfie Lippmann!)

What do you look for when signing a band to the label? Are there any similarities between your artists, or is it more a certain attitude and approach to songcraft that you look for?

You recently signed Delamere (a band we've championed here at U&I before now) and they're currently looking forward to releasing their second single 'Headstrong'. Care to give our readers a bit of information on that?

I’m going to use that word ‘corporate’ again here to articulate my answer...

Our ethos has always been pretty simple at entry level for artists. We focus on three main criteria: 1. Music – of course this is the foundation of our existence in this industry, so the music has to have something about it!

2. Fan Base – some artists get a bee in their bonnet suggesting ‘it’s the promoters / labels job to fill the venue / sell the music’, but that’s pure bollocks! You could pay millions for an advertising campaign for a band, but if they haven’t built that core fanbase to start the proverbial snowball, then there is nothing to build momentum. An act with a current fan base that THEY built is impressive, as it demonstrates work ethic, popularity and that people must like their music!

3. Professionalism – we only ever want to commit to acts that are committed and serious, but they also have to be nice people. In music, your passion and hobby crosses with your drive and ambition and therefore it’s not all ‘strictly business’. Some of my best friends have come from working with artists, we are all young music and beer lovers at the end of the day!

As well as your label, you put on a number of gigs in and around Manchester almost every month. Are there any artists that you've yet to book but would love to see playing a SOTN show?

Well I imagine we are referring to ‘emerging’ artists in this instance as it’d be too easy to say Arctic Monkeys! We are big fans of The Darlingtons, although we did have them on once in Chorlton. I’d love to bag them again for a city centre show as they are generally electric.I also really regret passing up the opportunity to book Catfish and the Bottlemen when I had the chance...they are really breaking through right now.

Similarly, it's also a city filled with a huge array of characteristic venues, and though we ask this question to most bands you'll be coming at it from a sightly different perspective, what's your favourite venue to host a show at and why?

It’s a toss up between Manchester Academy and Night & Day Café. The reason being is that they are run by great people with great staff. We get treated with upmost respect and professionalism at all times and you can tell both venues really believe in what we are doing, which is incredibly rewarding to know!

It’s not city centre, but I’ve also got to mention The Royal Oak in Chorlton who

After our affiliation was announced with MUK Records, I think it really grabbed attention. ‘Headstrong’ is the first release since that affiliation was formalised and it hopefully means we are going to gain a lot more notoriety for what is effectively a potential hit. These guys will really blow up in the next 12 months so get them young as they say!

Any other releases forthcoming on the label you'd like to shamelessly self-promote?

No shame in promotion! We’ve recently put out a few great tracks that are worth a mention: ‘Stay’ by Jolanga and ‘Wilde’ by The Fevers are excellent and we’ve got a really exciting new band coming to the fore in November....but that’s TOP SECRET. What does the future hold in store for the label side of things? Is there anyone you've got your eye on signing or bands you've been in talks with? Or is it all a bit hush-hush at the moment?

Let’s just say we’ve got a few groundbreaking acts and projects in the pipeline!

On a similar note, what are your plans for the company as a whole? More expansions and eventual world domination or are you taking things as they come?

We will always evolve and look for new opportunities, as I said earlier that’s our USP and why people love us. That said, we are now really focussing on making sure the label is of a great standard so we are putting a bit more focus on further consolidating and improving current ventures.

The main thing for me is that I want to meet more people. There are so many doing great things for Music in Manchester alone! My philosophy is again a bit romantic, but let’s all get to know each other and see how we can help each other out. Few beers to be had in that ethos to!

You've got your finger on the pulse of Manchester's unsigned scene somewhat. Who should our readers be listening to that they might otherwise not be aware of?

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I’ve got to say, you don’t need to go much further than the SOTN roster (Delamere, YOUNG, The Fevers, Jolanga & David Liversidge and all the ‘Mix Tape 1 & 2’ acts), the MUK roster is brilliant as they are really on the pop/electronic scene (check MDNGHT, Berlin Berlin, YOU, Animal Music, Red Sky Noise). Aside from the above, I like the look of The Slow Readers Club, The Tapestry, Puppet Rebellion, The Nankeens, The Lottery Winners, Skinny Roller (soon to be ‘Tremors’), Feed The Kid, Hey Sholay, The High Nines, Lucky T. Jackson...I’ve written this off the cuff so if I’ve missed anyone I hope they understand, they know who they are if we love them!

You hold a yearly all-dayer in Sale which promotes some of the best bands from the city. Do you have any plans to turn this in to a full weekend festival? A Scruff of the Nextival if you will?

Nice, can I have that one? The Pop-Up Festival we hold in Sale is in its baby stages but it’s been a massive success two years running. Let’s just say we’re laying dormant on the festival scene and will be back sooner than you think! Don’t forget we ran Beached 2 years ago with the Futureheads and The Whip amongst others so we have some experience!

What advice would you give to smaller bands who are interested in getting involved in some of the Scruff of the Neck Action?

I know artists HATE this, but fill in the contact us form on www.scruffoftheneckrecords.com and leave a personal message about yourselves, I personally read every single one even if it takes a while! Don’t hesitate!

Finally, any parting words of wisdom or exclusives you want to leave our readers with?

I’d just say don’t be scared to go and have a beer with other people in music, you’ll find we are more friendly than you think. Keep the fun element to what you do whilst remaining focussed, organised and committed. Also don’t hesitate to ask for help off people, you’d be surprised how willing people are to help.

O

Photo by Aimee Lynch

n the 21st of July U&I’s Deputy Editor, Greg Clifford, departed for Berlin to focus on honing his skills as a songwriter. We thought we’d catch up with Greg and see how he’s adapting and has inspiration struck yet! Here’s what we had to say: Many have asked me why Berlin! Well I don’t totally know if I’m honest. In ways I could have moved almost anywhere, as the move is born out of a want for a self-imposed exile to truly concentrate on creating music, as opposed to what Berlin necessarily has to offer. I just kinda dove straight into the deep end!

I wish to write 4-5 hours a day, listen to more music for inspiration and work on shaping my whole image, mindset and online presence. I want to become more focused, professional and prolific and I believe Berlin will be a positive environment for me. The place is alive with art and all sorts of music.

I’ll certainly benefit from the anonymity and from escaping obstacles and routines I experienced at home. I crave a stripped back, modest, artistic existence. This will be a period of reflection and for establishing order in which I wish to write and record a new album; an album that will do my musicality justice. Admittedly I have released some bland material in the past but from now on I want to love, as best an artist can, what I put out. I hope to truly exert control over the songs and push their and my boundaries by including more ‘musical’ elements such as canon (the closest form of imitation), changing time/key signatures and explore different timbres and instrumentations etc.

Krautrock (rock & electronic music that originated in Germany in the late 60s) is a genre that has always moved and appealed to me. Being here I find myself listening to more Kraftwerk, Neu, Michael Rother and Can. It’s having a direct influence already on my latest demos and sketches of material. Krautrock makes a virtue of the ‘motorik’ beat and minimalist layering.

Swirling phased guitars and airy synths are prominent, making the listening experience quite hypnotic. I’ve also delved heavily into Lou Reed & The Velvet Underground of late. Fascinating output. Lou Reed, in some of the albums, used what he coined as ‘ostrich’ tuning, where all the strings are tuned to the same note creating a significant drone effect. I decided to try it out and explore other tunings. Alternate tunings really do create an intriguing guitar sound and force us to think outside of standard shapes and chord progressions. I’ve been looking into the tuning Robert Fripp (of King Crimson) developed also.

It’s called New Standard Tuning and is comprised of fifths, like a violin. The tuning is C-G-D-A-E-G, with E to G being a minor 3rd. Interesting stuff!

Although I am a serious music nerd!

The first two weeks have been a real adjustment here. Finding a long-term apartment in Berlin is massively difficulty and in the space of under two weeks my girlfriend and I have been in a hostel and two airbnb apartments! Lucky enough we’ve sorted a place out ‘til mid October in Friedrichshain (a real vibrant, lively spot). This moving from place to place has impacted somewhat on productivity but it’s to be expected and I’ve still got a number of ideas and progressions in motion that’ll be explored and expanded upon in the coming weeks.

Next stop after that will be to check out some venues. Last week I got taking to, Berlin

‘‘ I want to become more focused, professional and prolific, and I believe Berlin will be a positive environment for me. ’’

GREG CLIFFORD The Berlin Period

based, Elder Roche. He’s a pianist with a soulful voice. Comparisons between him and Tom Waits are often made. I’ll certainly be catching some of his gigs in the not so distant future. He recommended gigging in Zimmer 16, Kugelbahn, Madame Claudes and in a new open mic spot called The Happy Pig! I look forward to frequenting these establishments. To get gigs here I set up a gigmit account (www.gigmit.com/greg-clifford). Gigmit is a gig-booking platform based in Berlin, which brings promoters, artists and booking agencies together. Busking will also be on the agenda up in Alexanderplatz. Busking is permitted, and well respected here, and will be a good way of handing out flyers and pushing a few CDs. Recently I was approach by Sean Breathnach

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about permission to use a track of mine in a short film of his. The track in questions is ‘Nuages Sombre’, which appeared on my debut album. It’s an instrumental piece that features guitars, piano, violin, viola, flute, bass and drums. The film is entitled ‘Felicidad’ and will premiere at the Underground Festival in Cork in August. I’m impressed by how well the music lends itself to the footage Sean has captured.

From the tasty locations to the camera work and editing it looks like a very strong production all round. Once it has premiered I will share a link on my Facebook and Twitter so people can view it. Until then I am going to immerse myself in Berlin and see how this experience shapes my music. This is what I really came here to do and now that I am doing it I am excited by the prospects that lay ahead.

THE RUBY SESSIONS Doyle’s Bar (29-07-2014)

DAVID HARBOTTLE AND THE FRIENDLY CATS Getting our Tuesday night going here in Doyles’ was Devon artist DAVID HARBOTTLE and his accompanying musicians saw their set-up comprised of a guitar, cello, mandolin and accordion. For their opening number ‘Ramble’ this arrangement sees them settle into a tidy groove which trails across the live playing. Yet it hits strongly. This hits strongly and the volume that carries it through has a fine sense of dependency going for it. An ode to a fallen drinking buddy called ‘Malcolm’ came next. There is an added value to be found in the sincerity that is recalled from the reflection in the delivery. That builds the passive side and adds a specific virtue that is invested smartly off the back of the story. It is also something that feeds well into the performance overall.

Then we had the rather relevant in the modern context of current affairs ‘Lift Up Your Flag’. This one is about conscientious objectors to the First World War. The forlorn qualities gives the calling something more descriptive that is highly engaging. That lighter sensibility carries across in the flow and is well laid out. The tailored courtesy to the folk attributes also comes to pass, while the cello is an embraced application that gives the sullen tempo a more grounded purpose. Two songs rolled into one with ‘Igor’s Wedding/Bolt St. bill’. They are both brief with the first half having a glide about the delivery. There is also an admirable pomp on show, while the shanty like qualities of the second half/second number deaden the resolve in a keen way. They brought things to a close with ‘Saucy Sailor Boy’.

This is another tune that is a nod to their hometown and you are pulled in from the opening line. With the fine calling that is displayed from that they manage the overall running in a deliberate way. There is also a sense of true English folk influences that carve out a niche for the running. But it is also something that resides in a collected way that is served extremely well from the instrumental process.

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We haven’t seen FIACH MORIARTY play live for some time. That has been down to a combination of him being in the studio recording and playing abroad. Suffice to say he still retains that knack for turning on a sixpence when he plays. In the manner that he got things underway with ‘Waltzing Through Time’. It is always a sign of a good song when you hear it numerous times yet it loses none of the admiration you have for it from when you heard it the first time around. This is a careful n umber that has an endearing majesty that is embraced. The precision in the yearning here takes flight in a way that is rather becoming as everything comes together. ‘Everything Will Rhyme’ holds a credible level of appeal in how well composed it is. The timely saunter rises tidily in the guitar and as such it endeared the audience along the way. There is a quantifiable excellence about the execution here that gives the song a belonging in the calling.

FIACH

His wonderful anecdote about his accidental Jewish ancestry preceded ‘Nightingale’.

With this one he savours something in the projection that completes the running in a very kind way. That is justified calling simmering away which wills it on in a gentle way.

But added to that is the taut handling of the guitar which commendably falls into place.

Anecdote number two involved the word ‘sláinte’ being lost in translation with a Sicilian/Italian from his New York trip before he played ‘The Revolution’. That is going to be the title track of his second album which is due for release next year. There is a timid and bespoke running about this one that conveys the true worth of the song as it takes off. The leisurely feel developed in the flow circulates with good intention and, as a result, gives his stage presence and added appreciation. His love affair with Irish history is a passion on the side for him away from music, but he confessed to having a calling when reading up on The Battle Of Mount St from the 1916 Rising. To avoid triumphantilism the song is told from the perspective of a young British infantry soldier.

The innate and personalised account is all there in the details – from the pride of wearing a uniform to the notion that they were also working class fighting a colonial war against other working class people – that are called out in the lyrics. An eerie silence falls over the audience and the atmosphere in an upstairs Doyle’s on a Tuesday night very much suits the setting as it all presses ahead.

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THE YOUNG FOLK We are always happy to see this band play and they are veterans of The Ruby Sessions and that comfortable presence they have with the familiarity of their surroundings showed throughout their set.

There is a neat parlance about their opening number ‘Wolves’. With the appearance of the newest member from behind the curtain playing a trombone they certainly worked the crowd. In the awning of the fleeted footing here the delivery is sweetened. They then move the direction by the opening with ‘Grow’, which is an effort that settles into itself. There is also a marked maturity in how it progresses that makes for a top drawer tune.

They also maintain a sense of forward momentum in the keepsake quality that lingers in a telling way, but it is the dependable manner that they command the stage that you clearly take note of.

What they can do as a band collectively is underlined by the intricate state of play built up from the intro on ‘Bright Eyed Thieves’. That motions a calmness through in the cut here alongside the listless containment of the live showing. A fine face value is also put upon things from the fanfare of the very uptempo calling when it all

comes together. ‘Way Down South’ is a clever song that is dressed in fine attributes on all fronts. It is their current single and a tune that is very much worth its salt. The texture is also something that accurately smartens the appeal, with the lyrics contending everything before the tour-de-force of the combined playing closes it out.

An encore was never really in doubt and they emerged to an appreciative audience and walked off the stage into the crowd for ‘Olivia Leaves’.

Holding just a guitar they adopted a minimalist approach that was highly effective. With the harmony comes a degree of pleasance as it all through. Guided by this sense of togetherness sits right. Added to this was the audience participation and how they worked the room which endeared it furthermore. Then the guitar presided over the intro in a glorified way for their final track ‘Hold On To Your Hat’. There is something stationary to be found that back the ornate running in a fundamental way. Nothing is sold short from what comes to pass and that strong sense of realisation works its way through as it all presses ahead.

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SAUCY SUNDAYS The Grand Social (27-07-2014) SAUCY SUNDAYS is always one of the great club nights in Dublin that it is a great pleasure to write up for Unsigned & Independent. Each week always displays an incredibly high calibre of artist who travel from far and wide to play there. That is a telling testament to how finely held in regard both The Grand Social is as a venue as much as it is to how much a part of the musical landscape Saucy Sundays has now become.

THE REVERSE The first of five acts that we managed to catch this evening was a stripped back acoustic set from Cork band THE REVERSE. There is a competence about ‘Last New Year’s Eve’ which shows how comfortable they are live as much as it does that they are a band capable of putting together a fine tune. This shapes up and the reliable way it is delivered is there to be admired. That was then followed by ‘Pouring Rain. Here the fanciful grandeur of the running falls into place. Resident in that calling is a sense of overall pleasance, but that is suitably aided from the clear way that the steady and fluid tumble of the guitar seamlessly rolls across it.

The excellently titled ‘Heartbreak Is A Million Dollar Business’ came next. The ample suitability in the opening is enriched by the harmonica which adds a neat level of maturity to how it sounds. That falls out and the rest of the song is easily played in.

The harmony is another strong point here that is neatly kept in check, and that sits impressively alongside the grounded calling of the lyrics. This is a soft number yet it doesn’t overplay that fact. They allowed ‘I Think you Do’ to set itself up nicely. This is also going to be their upcoming single. How comfortable it is shows. There is a dutiful admiration about how it tumbles along that makes the effort here an exemplary one.

Things are moved away from the similar with the more upbeat ‘Jack And Jill’. This is projected in a believable manner and the lyrics are a very intelligent showing. What also sits right on this one is the way they add virtue. Their weight in the delivery is what completed this one as much as the clear trajectory in show in this tidy number. Described as ‘the ultimate break up song’ before it was played in was ‘Park Bench’. The reflective calling adds a level of poignancy that it all builds effortlessly upon. This is a tune that cleverly falls into place bringing with it a sense of resolve that completes it. Furthering this is the emotive determination in the arcs that take hold. They bowed out with some bluegrass and a track called ‘Tried My Hand’. This guides the tempo through favourably bringing a rich sense of volume from the guitar as it does so. The elaborate way that it presses ahead makes for a showy number and sees them close out on a very strong finish.

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RAY BROWN

Coming from New York was the next act to take to the stage tonight. Keeping in tune with the acoustic flow of the evening so far was RAY BROWN. Armed with just a guitar he managed to convey a solid sense of conviction to his performance as a whole. The imagery that is conjured up in ‘Lean’ from the lyrics emancipates the resolve in a big way. This is a detailed tune that adheres to the approach and a quantifiable levity ensues that endears you to the performance. The majestic attributes he can call upon do so again on the imaginatively titled ‘Quonset’. Here they are portrayed down to a fine tee.

There is something spatial that layers the pristine elaboration in the draw that determines a deadened feel that is rather prompt.

The direction of things changes unexpectedly with ‘Party Anthem’. This is a spry effort that comes to life from how the delivery presides over things. The sheltered calling builds it up with distinction. How it rolls here is incredibly steady and that manages to get underneath it selectively in the operations here. Another neat number followed with ‘Cat Weazle’. There is a real sense of ingenuity stowed away in this one. Well measured on a lot of fronts allows the understated flow to imbue it with a sense of depth that allows his voice to lean into in a telling way. Retaining that lonesome pitch is ‘Brand New Hustle’. This is tinted with regret and that fills out on the lyrics is what develops the reach.

There is also a feasible sense of elation that comes through. Added to that is the select guitar that defines it all from how impressive it matures.

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The guidance of ‘Columbus Day Weekend’ opens the song, while the shared vocals as he is joined by CAL FOLGER DAY build it. The angst determines a great deal that is there to be celebrated. What it finds is also highly of merit because it accentuates the isolated and fleeting characteristics in a rotund way.

With ‘Labyrinth’ there is a promising calling collared in the rhythm. This is calculated and projects the charm in a way that deliberately develops in pockets. The conclusive way that it does so is explicitly picked up on. With his next three songs – ‘Connecticut Highways’, ‘Vote Alan’ and Grand Canyon’ – there is no reprieve. As such all three merge into one continuous transition that equally command a strong sense of focus. This is evenly felt and the patience of each one is a true strength to what he is about as a performer and shows.

CAL FOLGER DAY From the artistry that opened ‘Home’s A Place’ the entire room just sighed in awe at how good she was. That we hadn’t seen her perform before came as a pleasant surprise. Her first tune ‘Home’s A Place’ is a truly superb effort. The deft hold in the lyrics is impeccably well reasoned here. That her voice is a gift that generously spills out nails this one. The effortless sheen that it brings to the running holds it all in place. What is situated on ‘Rocking Chair’ is rather conclusive. There is an understanding of experience meeting with the tune in a mindful way that sensibly filters through. The authority about this one highly furthers things kindly and it is a graceful effort from start to finish. The divine calling in her voice finds a place to call home on ‘I’ve Got A File’.

There seems to be a perfect marriage between the words and how they come out of her mouth. The completed sense of artistry shows that she is highly capable of immersing herself in her music as much as she has the effect on her audience. This is something that speaks volume and denotes that she is an artist who has ability in spades.

The virtue in the running of ‘Only The Angels’ steadies the arrangement. This is a deep and fluid number that carries a sense of flair about it. This is held in reserve and takes things through in a calculated way, even though it is a brief tune that is highly effective. The pick up on ‘What About Those Kids’ is a more sturdy affair.

Hidden in the lyrics is a good combination of taboo, comments on society and human nature. Despite the pleasantry that drives it through in the detail it is a bit more of a social commentary than it would first appear.

That resolve is what denotes a darker side hiding behind the operation here. Her final tune was ‘Bristol Falls’ and is a steady tune. Her handling of the guitar plays cleanly behind the rhythm. As a result of how this encompasses everything there is a delightful grace found in the handling. In some ways it conveys a dutiful and stray quality that works well. The feint pressing here is also encompassing and adds to the rich folk showing.

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MYLES MANLEY

Here is an artist who is the definition if what it means to be an enigmatic and creative individual when it comes to being a musician. He seems to embrace an approach that lets his music do the talking for him – and you either like it or don’t because there is no middle ground. His performance here at The Grand Social did just that and the muted sense of purpose gratifies the calling on ‘Pay Me What I'm Worth’ and finds the worth of the song in how it collects. There is an air of innovation to the delivery. Added to that is his unapologetic confidence that personifies his stage presence. But it is something that specifically aids the withdrawn aspects and throws the proverbial curve ball to those trying to figure him out. That awning that he has in his voice ignites an air of desirable creativity on ‘Easter Morning’. That is something that sits comfortable and positions itself centrally and sees him get lost in the characteristics. There is also an admirable way that it is brought to a conclusion that has a lot going for it.

There is a delicate handling about ‘I Love Her Family’. However it does go on for a long time and it is hard to maintain the concentration because it does over run. That criticism aside, what it has going for it is a delicate handling that brings a more resolved. The temperament is sustained and embraces the assured effort it strives to become. The doting qualities are evident and suit the sullen projection. That is a finite and earnest calling, and one that divides opinion, but then again it is what he is about artistically and when you understand that you see past the surface. ‘Ordinary Love’ is tracked well from the intro and contended in a reasoned way. This is something that fits the structure of the context. The poetry of the content is also catered for and everything is given a more considered feel from this. The great thing about what he did with his closing tune really caught the audience off guard. The people behind me remarked ‘oh my God’ when he got things going with ‘I Fuck Your Wife’. That shock value isn’t intended to be there for attention seeking but instead to layer the song. It works and gives it a sense of being in its own right. To the performance at hand his voice spills out gently and there is no shying away from the more savoury lyrics. This is an effort that is taken in the right direction from the sincerity that denotes the brilliance he is noted for. That audience reaction, whether intended or not, stood out for the right reasons.

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DEATH IN THE SICKROOM The last time we saw this band play was in 2012 in Whelan’s on St Patrick’s Day. They played a stormer that night and that it has been over two and a half years until our paths would cross again is hard to fathom, but that is the way it goes sometimes. Suffice to say they haven’t kept a low profile either and they have also been signed to Reekus Records in between.

‘The Bastard’, unapologetic in title or anything else, opened their set. You are immediately met with the intent they have collectively. It is a loaded effort but one that is carefully gauged. That sits pretty and then ‘Council Estate’ adds some further definition to what is already on show. A saunter is also generated here that finely complements the vocals and lyrics. A comparison of something that is THE SMITHS meets ASH is now drawn, but one that also entails a high mod influence as well. With ‘Sophie’ we come to a more guitar driven effort that is rich and layered. The ambient allure in the tracking is one that finds its way through knowingly in the foraging of the play. A keen and marked influence of any number of contemporary British bands adds to the substance found here.

With the sweetness of ‘Plain Jane’ you sit up and take note of what this band are actually about. This sees them firing on all cylinders. Cursive and solid, with nothing sold short in the process, it is a very determined effort. How they signal their intent is remarkable but incredibly well backed up by their playing.

Their intent is shown on ‘Tonight’. THE SMITHS vibe picked up already shows furthermore here. This is a catchy number that actively pursues what the collective effort is all about. This is catchy as hell and the active way that they pursue that brings all of the points of note through in a considerable way. The fashionable and stray tempo superbly lights it up.

They saved their best ‘til last. ‘Billy No Mates’ is clearly expressed and the margins of play accommodate the drumming and bass all the more. There is a very eager influence of a North West/Mancunian showing to this one. It bears a fine understanding of industry that enhances the choice conviction of the delivery. Most definitely a band that everyone should watch now.

They very much cut their chops with ‘Suicide Tuesday’.

Even as I write this I am reminded of how good a tune it was. There is a true resonance to the rhythm that confirms the arrival of a band with potential written all over them. The handling comes alive and you are grabbed by this in a way that is elevated by the outstanding bridge. Again they get straight down to the task at hand on ‘I Used To Dream’. This screams indie from the ferocity that is calling it out. That menace and bite superbly drives it on and eases them into the delivery. There is a natural showing that they have as a band which sees them come into their element here. The volume and gravitas is cleverly taken stock of.

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The Jayhawks

@ Kazimier Liverpool (Monday 21st July) meet his heroes and spectate their genius. And now they stood; legends to us all in the red heat of this old and humid bar just yards in front of us, in front of him; hearing his voice as he called out from the sea.

They were a mixed crowd. The sort that went from nought to sixty in the opening chords of Tame Impala’s Alter Ego. We all shared two things. The first was a love for The Jayhawks and the second was an unbelievable combined leakage of sweat. Sweat was in the air. Sweat was stained upon ear, forehead and armpit in the venue. Sweat had travelled all the way from the USA to entertain us. It was a beautiful venue. Red lighted, humid, psychedelic and dark alike some deleted scene from a Terry Gilliam film that meets a Hunter S Thompson novel – ‘Fear and Loathing in Brazil’ if you will.

After that night I am forced to wonder will I ever see a crowd so large again in my life.

I mean, of course it was no Croke Park or Wembley Stadium but for a small venue the room was packed. We ordered two pints. Some Indie German shit but it did the job and complemented the music finely. The Jayhawks then strolled onto the stage as I tore my notepad from my back pocket in an attempt to capture real life and what was then the present and is now the past in words for whomever cares to read.

I cannot possibly write much more as with a band as good and as rare as The Jayhawks I could quite simply end up writing a full book of about four hundred pages just telling you every detail of the night. What I will tell you for certain is that when they play near you, if they play again, buy a ticket. You will thank me for it. They are as good as bands get.

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Have you ever been in a venue so full you’ve practically had to crowd surf just to get from the entrance to the bar? I have. Tripping over steps, over drinks and over people all inside of the capsule of darkness that is Liverpool’s Kazimier Club.

I use the metaphor or simile or whatever technical term it is of crowds being similar to waves but in the Kazimier on this particular night I’d be a fool not to use it again. That Monday I witnessed the finest definition of a crowd being like a roaring tide. A goliath concoction of admirers stood waiting endlessly alike the crowds that filled coliseums lusting in awe for the spillage of blood onto a gladiators sword.

“Good Evening Everybody” was muttered casually by singer and guitarist Gary Louris before they strummed the opening chords of ‘I’m Gonna Make You Love Me’ to which the crowd erupted into a fireball of satisfaction. This middle-aged man who stood before me was the epitome of cool with his sun glasses and fucklessness. I was driven one million miles an hour directly into the heart of a Minneapolis nightclub; mainlined straight into the veins of the mini apple.

Everybody sang the songs which all had unique and individual meaning to each one of us held captive collectively. We all knew the words. My comrades of support. And we all took pride in singing the lines of ‘The Man Who Loved Life’ before we were blown into smithereens’ by the consistent tearing apart of the heart strings by the guitar solo which concluded the epiphany of brilliance. One of my friends in this sea of friends called out desperately for ‘TAILSPIN’! I just wondered how many nights he had spent awaiting this gig. Listening continuously to ‘Tailspin’ on repeat with such desire to

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Louris went on after another five or so fantastic songs to announce ‘if it wasn’t for the Beatles I would never have gotten into music’; and after an inaudible cheer from the patriotic Scousers amongst us the band burst straight into a cover of ‘This Boy’ and then following the descent of this Liverpudlian praise by The Jayhawks they began to play ‘TampaTo Tulsa’. As I look at my notepad now the words, scattered about almost unreadable as a result of partial drunkenness and the pitch black light, I can see ‘genuinely brilliant’ written several times across the page. And that is what it was.

Almost alike a road song, depicting as perfectly as perfect can depict the perspective we all presume to feel whilst travelling along one of the USA’s highways – probably how Kerouac felt in his time with Cassady.

The Jayhawks played a full catalogue of songs but there wasn’t one that they sang alone. We were one. We were together in this. They finished with ‘Tailspin’ and my new found friend got his wish. The crowd now a swaying of drunken but happy messes mumbling the lines to one another. ‘This is the fucking Jawhawks’ said my drunken self to my sober self. How can I, a writer, summarise the true brilliance and genius of an artist. I physically can’t! I know it is brilliant from hearing it, and I can only write for definite that you have to hear it too!

As the lights brightened up as Tailspin concluded Louris was not on stage. He didn’t rush back in the VIP lounge to collect his pink champagne. He stood amongst his own in the crowd talking genuinely to anybody and everybody.

What more can I say about this band?

As I walked outside the streetlights shone down as parked taxi’s looked at money leaving the clubs and I bumped into Jack Thompson of Guerrilla Garden for the first time.

Irish Artists THE HOLY SPARKS

Across The Endless Seas Superb would be an understatement to define this album.

The focus to ‘Bite Down’ is an inspired one and they seem to channel the spirit of THE DOORS on all fronts, but is so invigorated you can’t help but sit back and admire. The layered texture of the arrangement smartly brings through a thorough sense of togetherness and creativity. ‘Sons Of The Spanish Ambassador’ is another highly inventive effort. The precise trappings retain a sense of fluidity, while there is inspiration drawn from the vocals. The narrative call also imbues it with a finer realisation that commendably carries through in the overall breakdown. The introverted qualities reside by design and make for an all engaging experience that qualifies as life changing such is the impact. Third track ‘A Horse Of A Different Colour’ exacts a more accomplished approach. The bolder feel deadens the sound and allows things to correlate in a collective way that is highly fashionable as the psychedelic callings press ahead and narrow the sound to something of a true conclusion.

The forlorn calling is sharply procured on ‘Ming’. The staved feel in the running commands a catchier beat. Shades of JOY DIVISION are conveyed here with a real IAN CURTIS vibe captured in the vocals.

That is also remarkably imbued in how the guitar aspects driving the sullen derivative through bring a sturdy resolve that negates all the right callings from the off. With ‘The Skeleton Women Of Baggot St’ they drop the pace down. It is picked up on because the change in direction is extreme. Nothing however is lost in

10 terms of musical ability or prowess. Instead they give the album a more measured calling that develops the appreciation as a considered whole. Lying in the Hindi influences is the spirituality, but it avoids pretentiousness because it is wholly imbued with substance. ‘Instrument Celaphopod’ is a richer affair. The volume in the alternative trappings reside by design before the sharp cut of the guitar proceeds to drive the delivery through. The guarded vocal anxiously crossing over brings balance. How it develops from the opening is highly effective and influential.

There is a spry attribute in the play that cleverly brings ‘Three Horsemen’ in before it comes together. That is an enriched effort when it does so because it allows a detailed level of playing form that is comfortably matched with the selective and cursive collection. It is the finished article and when considered alongside the manner preceding the opening you are left in awe of a band that are on top of their game. The very funky ‘Here Comes The Darkman’ follows. The handsome bass line is worth the price of admission. The 60’s revisionist overtures are fitting and they add to the appreciated way it is laid out. ‘The Fog’ is an effort that has a highly considered wonderment to it. The lay vocals merge seamlessly with the arrangement in a beautified way that unfurls tellingly to procure a sense of opulence that serves it well. The album closes with ‘Japanese Sexbees (Deasy’s Dream)’. Here they are let off the leash and corner something in the forages of the urgency that bites hard. Kept in tune from the expert tracking, it has a sturdy resolve that is comfortably brought through and allowed to cursively impact with an assured reckoning that never strays off course.

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OLD BEAN Sally

There is a clean cut to the guitar of opening track ‘Save Me’ that finds its feet.

That seems to give the tune the drive it requires, however it does lack some bite in the backing. There is a deliberate feel and hold about it collectively which carries through the resolve.

That is held accountable with nothing sold short in terms of intent either.

Catching the brevity of the hooks is ‘Days Go By’ which sufficiently gathers.

The drop down in the rhythm fastens to the running in a way that comes to pass figuratively, while the leaner attributes garner to give a more determined reach. After that we get ‘Take Her Home’. The fetching kitsch in the running touches things out in an unbridled way. Things are moved on competently and it is also marked by a hint of progression that sees the album come together from its inclusion.

through cleverly. Residing in the delivery are attributes that ascertain the withdrawn and anonymous reasoning that their sound is about. That disenfranchised mooting is highly apparent from the heavier pitch but one they are comfortable with. Holding its own is ‘1992’ and the development on show is impartial. They produce the goods with this and the heartened appeal is there in the refined mainstream calling it has. This sense of identity separates it from the rest of the track listing thus far for all the right reasons. While being different it does also fit in.

An engaging slew of gusto affirms the guitar for ‘Trust Me’. The staggered climb has an assured maturity that drops out expertly.

The transition retains a commendable stirring that captures a neat level of intent that is duly considered. The eponymous ‘Sally’ has mundane trappings and a solid footing that works

A feint shoegazer effort ensues with ‘Pixie’ and the intricate way they build the rhythm shows on the intro. Then they imbue it with a pacey guitar and drumming combo that is the real deal. Rattled off on all fronts it is a tune that is anthemic but also closely considered in how it comes to pass. Next comes ‘Broken’ which efficiently syncs a punk sentiment into the trappings. As a result the breakdown hits the ground running but also has something that the rest of their tracks seem short of – a sense of identity in the aesthetic that they actively engage. The album is closed out with ‘Time Killers’. This is an unbridled effort that stokes a spirited approach tellingly. The refined punk touches are determined here and as a result it has a cut about it that is expertly noted and keenly felt.

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THE ACTUAL MAFIA Bullet To The Chakra

Theatrical in the introduction sees a scene play out in radio style concluding in a tradition mob hit. From there ‘Jogging Donkey’ opens and a funky backing smoothly gets under the playing. A freestyle and beatbox vocal delivery helps it step out. The novel composure is secured by the brass sections that capture the spirit here, while the rich volume of the tempo does carry through and bring the delivery full circle. Straight shooting ‘The General’ is also able to call upon that reckoning they can procure. Here the rhythm is one that is commendably realised while the contained rein of the delivery is one that musters the running with flair.

Regaled from the inspired and carefree turn in the showing there is a natural progression in the flow that is superbly considered.

‘Once Upon A Street Corner’ is a telecast offering. On account of the novelty and churlish feel of it can divide opinion for its inclusion because it detracts from the music.

They then keep the flag flying for funk with ‘Street Like Sesame’. It is a gift of a tune and rich in volume.

The delivery takes stock of

7 this and they produce something that is highly engaging with the layers on show in the arrangement. Things burn bright on ‘The Curious Art Of Falling Apart’. Highly engaging from the off it is a tune with a clear sense of direction. The top drawer manner that sells it is to be found in the way the clear abandon becomes a central derivative to it all. The direction here is one that picks up from the get go and never relinquishes that approach or hold.

Rich in appeal and charm is ‘Funky Sonic’. The rounded feel of the delivery hits all the right spots. Considered in a determined way catches something in the spirit of the delivery that aids the fluid countenance in a beneficial way. The fast turn of pace on the vocals is another clever side that they squarely have licked. Again their embracing of funk serves it well and ushers the flow of the rhythm in with a high degree of awareness. A third interlude called ‘Trip’ is something that takes away from everything. It is a failed attempt but that aside the tune that follows ‘Set The Night On Fire’. It is a solid tune from the off. The considered and grounded running here strikes the right chord by lighting it all up (no pun intended), with a committed performance abounding in it from how it collects and projects that into a conclusive musical effort.

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THE CALVINISTS King Of Lies

Things start off with ‘What A Life’. The refreshing pull to the guitar is loosely tracked, but there is a marked intent as it all pitches up. The flight underlined by the intricate calling and precision resides in the background but collectively comes through. There is a mooted resolve about ‘Truth’ that gets going when it picks up. That takes centre stage and holds its own. The deft appeal of the rhythm and offbeat calling combine to incredible effect. But it is when you hear ‘Anchor’ that you sit up and take note of how good they really are. That is assured from the soulful and handsome running.

Flavours of bluegrass add the necessary kick but afford it a fine servitude as it all prevails. There is a freedom of expression in the breakdown that also falls into place with distinction.

manner gets going in a highly apparent way. A rich sense of volume and texture meet that play through impeccably. But the sleight of hand that gathers with the Latin drift pacifies things in an endearing and well considered way. ‘Padded Cell’ is also a truly uplifting fanfare. The brass accompaniment in the running deadens the resolve but also brings it into focus. The free expression sets a telling precedent that is ably followed through with aplomb.

There is a homely trapping about ‘Stepping Stones’ that befalls the running commendably. The saturated drawl of the vocals tellingly wiles away.

While behind that is a passive attribute that as a collective whole gathers deliberately. A vaudevillian tune then comes next with ‘Jump’ that is very pleasing on the ear. An impartial calling moves the tune through and that clear

They delve into something rich in folk on ‘King Of Lies’. The deft touch of flair collected in the taut attributes of the delivery heighten the appreciation. How it is gauged sits well and there is an impressive fortitude hidden away on the delivery. What truly lights it up are the polka influences. The penultimate track here is ‘Branded Cained’ and the direction is another that embraces an Eastern calling that commendably comes to pass. A slight askew telling about the delivery intrigues. The listless derivative of the tempo also carries across with a magnificent parlance that is an attractive proposition here. Closing proceedings is the aptly titled ‘At Least I Got A Song Out Of You’. This is an attractive and keepsake offering that ascertains the appeal from how candidly it is pieced together. What sits right is inspired and brought through with vigour. The cautious ebb and flow also endear the track for all the right reasons.

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AGGRO CULTURE

Aggro –Culture ‘Elegy’ is a brief number that opens which creates a sombre and ambient texture making it a moody number. Then it is followed up by the more full-on ‘Raw Determination’. This catches the metal aspirations in a noted way. The drifting cut from the scatty bass and drums meeting the resonance of the guitar drives it on. Then they incorporate that approach into ‘Death Threats’. This holds together relatively well in the appreciated way the music works through. It is a hardened and impeccably considered effort, with the harder edge gratified by how invested they are in their endeavour. ‘Townies & Blaggards’ features Dave Walsh.

The intro is more steadfast but it charges into the delivery. Loaded with a steady resolve in pace, behind that is a reach in the lyrics and a slight retro calling is also picked up on. Headed up by all that, it is a fine effort and this now warms the uninitiated to the album on merit.

‘Good Men Doin’ Bad Things’ is a metal tune. The fixed stature is one that has a darker organic but it seems to tie the loose ends together. The approach is unbridled and the anarchic structure gives way to a more sullen arrangement at times with a softened piano lush coming to pass. No complaints about ‘You & I’ as it hits the ground running.

The inevitable feel is locked in, but the prospects are assured from the change in gratified playing arcs which create a bigger sense of structure as they come to pass. The scatty feel of the guitar is rather effective on ‘Giddy Up The Hollic’ but also touches on that appeal that metal has for its fans. It is an expansive tune that builds effectively and the outline here is one that is efficient. But this is more engaging because it has a more encompassing approach adopted that serves it well.

8 Then we come to ‘Mutiny’. In the piano derivative on the intro a more pronounced turn is noted. Here the rhythm collects in a mainstream way and the vocals are angled in with a more relaxed cut. There is a slight lack of substance in the context though, but the playing compensates for this. The drumming and guitar combo gives things a more reggae approach with ‘Sticky Mattress’ and catches you off guard. The tune progresses to move away from that before returning. It lights up and the vocals are up to the task at hand as much as the playing. They then seem to lean into a more absolved calling with ‘The Life And The Soul’. This has the potential to feature on a soundtrack somewhere further down the line. Worked impressionably from start to finish, albeit somewhat raw around the edges, it is a tune that sees them make the grade.

Some social commentary via telecast denotes the opening to ‘Suiciety’. Then the tune carries that sentiment across comprehensively in the reflective calling.

What also impresses is the deliberation of scope in the playing that carries through, with the differing styles serving to keep it all on course. Then they get back to what they do best with ‘Welcome To Hell’. It is another tune heavy on their metal flourishes but unafraid to take a contemporary approach with deferring the direction musically. Again, on account of their playing ability, they retain the focus. The guitar and arrangement combine on ‘The Bottom Of The Sea’ credibly. You are drawn to the intricacies in the intro and gets going with an excellent stature to it all. That considered, the weight of the running and vocals make for an intriguing listen and the moshing probability is a given. But it is more than that because it is an engaging effort finely condensed completed in the approach. The last track is ‘We’re Still Here’. This has an American flavour but the feel is also a homely one that the playing margins gain from. It is big on this but not in a way that feels overstretched, unwelcome or pushed. In fact they just go full on and you sense the sincerity as they get lost in their music by getting caught up in the moment also.

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JOE LYNCH

A Dark Horse It is a softened effort that opens the album on ‘I Did What I Did’ that gauges the virtuous side effectively. The vocals and arrangement carry over and settle when they meet creating a rich temerity in the process.

Sentimental number ‘Everyone Told Me’ is next. Here the steadfast rhythm is an attractive draw alongside the apparent country styling. What sits here is a requisite tone that gauges the partial aspects in a telling way. Then there is a calmer calling to ‘Gone On The Ocean’. The sentiment is one characterised by the lonesome derivative called out in the lyrics. It is then followed by a very marked change in direction with ‘Highway’. The telling way the pace picks up connects squarely. The tempo keeps it on course and as a result it catches fire from the off. That is corrected in the right way and the sleight of hand in the underhanded lyrics feed into it quite well.

With ‘Mary Lee’ there is a sterner calling to the delivery.

The Americana drift on show is highly relevant and the deeper reach of the vocals angles in considerably well. The brevity of the refined touch enhances the appreciation on show and that is steadfast in how it is maintained. The slide of the dobro is also explicit. Then the style is softer with ‘Refugee’.

The passive side comes to pass in a noted way, and there is also a fine grasp maintained over the lyrical context that descends upon the framing as much as it does the delivery.

The tidy and ambled showing of ‘I’m Going Home’ closes around the charm cleanly. The full on canter that steps out is doled out in generous measures. This is a tune that boxes clever from the way it touches base with the presence and merit of the tune.

8 The sparse attributes of ‘Down From The Mountain’ and the virtue of the effort as a whole are carefully considered. As a result of this the realisation is commendably brought together, with the seasoned pull from the vocals comfortably residing alongside the amenable guitar. ‘Best Friend’ then sees a determined attribute hold true. In the delivery the lyrics capture the dilemma of the situation. It is a rich country effort and the style reflects that.

The arrangement is configured suitably and it all comes together admirably.

Then the guitar seems to mark out a more rooted intent with ‘Went Over’.

How it happens upon the appeal sees the worth of the abject reach take flight. It hangs back with a clean deliberation on all fronts. Again it is a colder number but one that is exacted in a fashionable way that sits comfortably and retains focus.

Then it is back to the timely sentiment on ‘Seven Times’. The hints of country presented previously raise their head here. This though is a more grounded effort from the poignancy collected in the lyrics. How that deliberates is what gives the tune heart and is followed through in a highly capable way. ‘Wrong’ seems to pick up from that sentiment but also extends the reach. The darkened cut is sharply felt. With the noir texture of the arrangement also providing rather explicitly and brought to bear in a passive way that is rather telling.

The album closes out with ‘Back In Time’. A more patient backing seems to find its way through and comes to settle brilliantly in the process. It has a calmer drift and the bucolic, lay qualities are a passive stirring that are carefully considered alongside the bespoke cut of his voice. That is what backs it to the hilt but carries it also.

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Irish Artists

GLASSHOUSE BOYS Glasshouse Boys What BCFE has managed to produce over the year for the local music scene in Dublin is almost unprecedented and GLASSHOUSE BOYS are another one off that production line. Their eponymous debut EP gets underway with the darling attributes of ‘Party Song’.

The saunter of the rhythm arrives in a conclusive manner and sets about putting everything right. The sober and fashionable weight of the running gathers explicitly and captures a sentiment that abides in a highly fashionable way. ‘I Don’t Want This’ also weighs in with a vested appeal and the fashionable tempo breaks through with a curt resolve to drive it all on.

That inspires the song and the lift in the delivery rises from how they fasten things together. It is a complete effort and the expert and steady tracking comes to pass with the later playing arcs and how they come around.

After that we come to ‘Her’ which has a demanding calling from the pert and upstanding resolve of the hardened cut. The mandolin and rhythm incorporated, along with the neat skip and bounce in the step, are qualities that stand it good stead. This is one of those songs capable of writing its own cheques because it is that good. The fourth track is ‘Freedom In Some Way’.

Enabled by the sensible draw of the specificities on the opening it is a tune that carefully turns on the style. In that well weathered flow it eagerly chases down everything with the finesse of the vocals another telling attribute that come into their own, but allow the lyrics on this one to take flight.

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MOSCOW METRO Spirit Of A City Review by Jamie Kelly

The first track on the EP is the title track from this Limerick four piece is ‘Spirit Of A City. It starts off with an energetic intro before calming down into the first verse of the song.

There is a distinct flow to this that gives it a unique sound.

Overall it is very well pieced together, it gives off a good sense of completion. The next song is called ‘Future Fades’.

This starts out with a nice little guitar melody that sets the tone. It’s not long before the rest of the band join in and this one on its way. The chorus has a strong sense of power to it that is sure to get any crowd on their feet. It simmers down toward the end before erupting into a climatic ending. The third track is ‘Headlights’. I really liked the intro to this one and I thought it gave a great sense of depth to the piece. The synth melody that repeats throughout is really catchy and I found myself humming it all day after my first listen. A great tune overall.

The last track is entitled ‘Where It All Ends’. This starts out with a long intro comprising mainly of just the guitar. It adds a bit of anticipation for the first chorus. I think the use of backing vocals was very effective in the pre-chorus.

Overall it is highly catchy but it doesn’t change too much or go too mad. Throughout it remains a solid piece. Overall I thought this EP was pretty sweet and it was slightly reminiscent of some of MGMT’s work. I can see nothing but success in the future for this band. They have already played a number of prestigious festivals around Ireland and are making their way to the top. Off the back of ‘Spirit Of A City’ they are certainly worth a listen.

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THE CARNIVAL BROTHERS Deadliest Cuts

The preserved refrain of ‘Beautiful Mistake’ sees things right. The hopeful manner is one that lays out the right amount of appeal in the mellow calling.

The vocals also allow the song to mature in a determined way, while there is a faithful tempo alongside the vivid pleasantry in the lyrics’ graceful calling that is faithfully retained. ‘Guiding Star’ seems content to allow things find their expression in the beholden and precious soothing flow of the tempo. What is also contended here is the demeanour and they capture the heart of everything in a telling way. It is a steady number but it also plays things somewhat safe too much.

Up next is their third track, ‘The City At Night’. The intro alone is enough to whet the appetite. While the coveted psychedelic reaches on show tick all the right boxes. This is a tune that very much comes alive before you and the becoming precedent uncovered as it matures is cut from a very fine cloth. What is considered in the delivery commendably filters through with an explicitly fine turn of events presiding over all the right qualities. In short it is a personification of excellence from beginning to end.

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GO SWIM Animal

Flying the flag for the current and healthy state of the music scene in Northern Ireland is GO SWIM. Their EP gets underway with the well framed title track. ‘Animal’ is granted a fine sense of purpose immediately.

What also weighs in explicitly is the clean manner about the pace as it picks up because it is something that puts a reliant framing upon proceedings here, and allows the later calypso arcs in the playing come to pass without things veering off course. Again the synthesised calling gives the organic reach of their sound an extended scope on ‘Automate’. This is another effort with a rich sense of texture and volume to the beat. The handling is expertly considered and in due course things come together marvellously and exhibit a fine face value in the process.

With ‘Off The Trail’ things have a slightly leftfield roll about them. The tempo is more candid and the drop in tone doesn’t lose any sincerity, if it is more relaxed. There is a sharp and inspired turn about this one that is deliberately considered. The fourth track is also a savoury effort and one that allows a hardier approach to collect on the intro. ‘Call Sign’ does however gauge the tempo and the inspired trappings of it make use of this.

With things clocking in sensibly here there is a refined approach at work that incorporates a high level of engagement in the operation that is top drawer. A mark sense of determination combines well with the ambition here.

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ANA GOG

Resemblance With the contrasting and stylish follow of the arrangements to what they can do live, it has been a great privilege to get the opportunity to review this EP. The delicate manner that ‘A Short Walk’ imbues the delivery here comes through in a way that is judged well. The keepsake and passive side of the wanton characteristics, be they in the vocals or the arrangement’s more lush callings, they do steer this one through in a commendable way. That blanket of sound resides in a heightened way but it is one that rewards them kindly for their endeavour. ‘Still Life’ is a number that graduates from the expectant trappings of the piano that pushes through the arrangement. It confirms a sense of appreciation in a thorough way, yet there is a sense of completion on show that you are drawn to. The somewhat expectancy of the arcs is routed with a wholesome and correct stature playing it all for keeps that is a big draw.

The contours of ‘The Old Haunts’ covet the pull of the song. They sound out the lonesome traits and allow it to breathe. What is also cleverly factored in is the savoury and clean demure that the vocals transition in the calling. It is also an effort that is highly sure of itself and the compact progression that collectively gathers brings a new found sense of belief as it picks up.

There is a reasoned reach to their last tune ‘Going Gentle’. This is delivered and carried tune in a glorious manner. The escapism in the lyrics is a fine calling and the resolute manner to it as a whole is something that is considerately measured to accommodate the more serene trappings as they are threaded through.

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MY TRIBE YOUR TRIBE Vol II

Superbly expressive first track ‘Sunset’ cleverly embraces the subjective context in the synthesised trappings here to come up with the goods.

Trance like qualities earn their spurs on the beat, while the vocals that purse through have a clever showing from how they piece the tune together as a whole. Built into the tempo is a lay opulence that generously rounds out the sound and depth of the arrangement. The magnetism of the tune is derived from this. Second track ‘Portrait Of Failure’ has a rich 8-bit video game sound in the background which correlates squarely. The ambient setting situates the vocals in a choice way allowing the animosity of the lyrical context to lean favourably towards a withdrawn characteristic that is rich in texture. They are able to make use of this as a calling to very fine effect it must be said.

As the drum beat brings ‘Safest Place From Home’ together a steadfast and sharp electro vibe is pitched to the tempo in an intriguing way.

The lay and abstract measurement of the running here anchors the expressive side to things admirably. An awning in the vocals also commendably calls things out and allows for a pleasing effort to come full circle. The last track here is ‘Brave Reunion’. At almost eight minutes running time it is a tune that does go the distance. The opening is a distal one with the brevity in the vocals developing the scope. It is a transcendent effort in a lot of ways, but one that embraces the colourful callings of hoe the musical trappings come together collectively.

That is what suffices and captures their enigmatic side in the rushes of play that are carefully considered so finely here.

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International Acts

ROO AND THE HOWL Me/We

The goodness and the composure expressed on opening track ‘Catch It Faint’ brings prowess and is lit up by the steady calling of the patience in the rhythm. The darling and casual vocals tellingly come to pass. A calypso calling is gauged from the sharp guitar on the intro of ‘Love Lost’ before being willed forth. This is another classy effort that is cleverly worked.

How it grows in stature earns your appreciation and the duly flow is something to behold.

The still direction of ‘Swim’ develops an allure as the rhythm steps out. From the controlled expression pulling things closer you feel the intent from the resolve. The carefully considered tempo allows the arrangement to own the delivery yet still denote a savoury sense of freedom from the volume and expression on show.

By fourth song ‘To The River’ things have come into their own. The balance found lives up to the promise shown on previous tracks. In the narrative they invest themselves as artists, while the clean way it all sounds matches the resolve they want to achieve. It embodies poetry in motion from start to finish with the Americana drift the proverbial cherry. ‘Walk On’ sees them realise their ambitions. Heavy on the soulful side what also carries it through is the noted brevity of

10 the delivery. That combination proves its worth and the isolated calling sits right. That places a truth upon it all that is conclusive and mature in equal measure. You are grabbed by next song ‘Give Me Time’. The hardy feel of the rhythm raises their already impressive game. Upbeat, showy and then sensible from how it hangs back allows it ride it out in a comprehensive way.

Their warm and honest sense of conviction is highly evident on ‘They Say’ and it is what sets it free. The delightful ebb and flow carries the sentiment through. How it is kneaded here is a graceful procurement that is there by design. Following that is ‘Good Times, Bad Times’ and they embrace a country/bluegrass calling to impressive effect. The bass line here is a smooth transition indeed and the shapely calling of the track denotes a high standard of playing meeting with ability. With ‘Lay Me Down’ there is a more sullen ambience filtering through. How it comes upon the tracking is sublime and carefully considered. The formation of the delivery holds true with that as a calling. The album then bows out deservedly with ‘Into The Wild’. How the dobro and drumming shape the intro shines brightly.

There is a determination found here that they are comfortable with and it keeps it all on course. What also abounds catches the astute side that they have in abundance and they keenly develop the refined elements. As it enters the bridge it finds a calling that is relayed finely from the morose calling.

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ALGERNON DOLL Omphalic

From the first strike of the guitar chord comes a delightful and curt kitsch to the laboured feel of the opening track ‘Spilt Milk Perfume’. The shoegazer sway smartly hanging back allows the hardier aspects take hold from the neat bursts in the rhythm that breathe life into the track from the bold approach.

Romanticised from the off is ‘Justine’. The somewhat offbeat warmth of the deposition serves it well and works favourably. The hardened and withdrawn stirrings that come to pass in the rhythm get underneath the play to make things happen.

‘Tamed’ then seems to be something that takes a differed direction. The ambition that meets the highly alternative tidings sees the running settle on a morose tone that is kept in check from how the tone develops a gradual procession.

Encased in a delicate charm from the off, the laid back appeal is apparent and carefully considered. The impartial flow of the vocals neatly pulls you in. On ‘Fellate’ they harden their approach. The loaded pace on show develops something frenetic to the sound. That nicely sets ‘Sweet Nothing’. This is another worthy effort that sits up from the off and is carried off smartly from the steady motion of the tempo. That collects on the delivery from the get go and it faultlessly pushes it on. Steadily following with a shoegazer lush is ‘Pink And Blue’. The savoury trappings impress. It is also an inspired number that cradles a lot of the right things in the playing effectively. The patience exuded is rather specific and worthy of mention with a little hint of ‘1979’ by SMASHING PUMPKINS also picked up on.

They address how good they are on ‘Suicide’. This is another slightly askew and unkempt effort with an excellently tracked raw showing. The charm coming across with the abandon delightfully sees things step out. That is rather figurative to the benefit of the opportune calling. What comes next is another proven effort with ‘Candy-Striped’.

The direction slides into grunge territory with ‘Relate’. The anguish called out in the vocals on the chorus carries through the broader feel of the tracking, which also spells out the intent that the delivery unashamedly builds with such detail. This is a tune that enriches the album for its inclusion. ‘Goodbye, Blue Jeans’ opens conclusively and suits the album from the previous form shown. The seamless acquiesce furnishes it with a balanced calling before the song picks up as it closes out. But it is a grounded effort that sails through and sets up closing number ‘Pheromone’. In a way it feels like an extension of the song as much as it does the conclusive effort it is by default. The withdrawn calling is appropriated and allows the lonesome derivative of it as a whole to linger. The emergence of the track is one that resides distinctly with that keenly kept in mind.

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FIELD MOUSE Hold Still Life

The debut album of one of the best acts on the New York music scene has finally arrived and how. Feeding a smart combination of New Wave indie and shoegaze is opening track ‘A Place You Return To In A Dream’. An electrified atmosphere assures the stature here, but underneath the neatness prevails on all fronts which completes the tune. They usher in ‘Tomorrow Is Yesterday’ on a disenfranchised wave that is a bright calling. The resonance of the sullen guitar angles the leaner calling but distributes it cleanly so it comes full circle.

There is a superb allure sweetening ‘Two Ships’ from the off. Also coming to bear on it is the neat touch from the synth in the background. What is occupied in the delivery finds a place to call its own that correctly considers the deeper flow of the tempo. The sultry vocals are also the real deal. You take note of the collective conveyance here for all the right reasons. A blissful charge announces ‘Everyone But You’. What picks things up here kindly falls into place and it is a flawless offering personifying what capturing lightning in a bottle must be akin to as this is non-stop excellence.

The resolve of their shoegazer appeal returns on ‘Asteroid’.

The lyrics denote an intelligent charm in their trappings. What also resides on this one is a determined showing in the structure that distributes the finesse in equal measure. After that comes ‘Reina’ and the looping resonance of the guitar whips are superb. They

9 effectively stir the rhythm and the steadfast beat of the drum goes a long way also. At the source is a strong sense of identity as much as there is a lot going for the somewhat withdrawn appeal. Things become more upbeat with ‘Netsuke’. The dandy feel of the rhythm is sounded out in the right way and proves the worth from how it holds.

An allure feeds into this in the vocals, but behind the flow is a grounded calling in the lyrics and the opportune way that the arrangement is processed also goes the distance. On ‘Horizon City’ they allow the angst of their style to drive things on. This has a modesty hanging back off the raw cut which interestingly stirs the running. By doing so a wave of sincerity gets under the tempo that retains their unbridled shoegazer sound in a way that is very much on the money as it takes you along for the ride.

They then romanticise things somewhat in the askew reach of ‘Bright Lights’. The way it is laid off is rather fashionable, with the partial movements in the running coming through gracefully. However they gauge it in an opportune manner from how it comes together. As ‘Happy’ builds the expansive side becomes a proven and lavish turn of events. The fortified appeal of the rhythm provides well on this one.

They also call it in a reliable way. ‘Kids’ is a short effort. It could be considered an interlude in a way but from the overt and reflective trappings of the lyrics. From the drumbeat that opens ‘Water In The Valley’ you are just hooked. In the commendable way that the playing develops so elaborately brings a deserved appreciation for it as a whole. Not a foot is put wrong on this one and the hardened calling is one that sees it out with a marked sincerity as the album closes.

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HOLY TWO Holy Two

Opening the album with a display of scope is ‘La Tal’.

This pours forth fashionably and the free flow of the electro elements steer the realisation in the lyrical calling which is unified as it all carries through. There is a vacant trapping in the spatial calling of ‘Rush’ which is rather explicit. This carries through with an even appreciation that patiently takes flight. The impeccable progression at hand motions things forth in a way that is kept well within reach. The catchy and upbeat calling of ‘The Basement’ engages freely, which results in a deft trail blazed across the tempo that takes over in a well versed way. It is catchy but it also has a sense of prowess in how it is pieced together. That meets up well on the pitch and structure to go down as a top drawer effort from start to finish.

‘Anormal Animal’ comes to life in a way that grabs you for the right reasons. An elegant touch is granted upon it that deservedly takes pride of place. The vamped feel hanging back is also gathered in a telling way which steers the motion through with a true sense of togetherness.

Selectively engaging a more catatonic calling with the electronica is ‘Hover’. That brings down the tempo from the harboured and fleeting calling but wraps around it in a celebratory way that is highly relevant. The adulation collected in the layered manner manages the departure excellently.

9 Reverting to a pop sensibility with the calling on ‘Thunder Romance’ sees an indie disco vibe picked up from the nouveau touches that are explicitly tracked. The rotund synthesised values are prominently considered and, as such, there is a true balance in the playing neaps that is highly admirable.

The more pronounced flow with ‘Of Water And Bones’ gathers a more ambient presence from the sound. How it is brought through is carefully gauged, with a sense of a calculated calling there to be picked up on. Presiding over the delivery as a whole is a select splendour that weighs in smartly to realise a great deal from a progressive standpoint. Following on from that proven effort is the equally impressive ‘Wild Nights’. The intro is high in retro with a synthesised calypso notably causing the lay run of the tempo to capture a stylish procurement that brings home everything. The beatbox vocals are a deft touch determining the deliberation as a whole. In short it is a complete number that is realised furthermore from the development of the playing arcs in the later progression as they right so many things.

The album closes out with ‘Deep Breath’. That sees them revert to their earlier expressive side on the intro. The steady build benefits from the courteous application and the beckoned vocals guide it through. In the expansive feel to the arrangement a sense of ambition hangs back, but presides over it fondly and appropriately.

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SIMPLIFIRES That’s Life

The virtue that resides on ‘Don’t Give Up On Love’ telling indulges the play. The arrangement accommodates the canter of the delivery and provides well for the showing here. As a result what flows has a considered showing navigating the delivery as a whole. Then a harder feel presents with the faux New Wave rush on show to ‘That’s Life…’and it is a deferred calling but one that closes things down explicitly. The vocals fall into place and are an indulgence that clicks into gear tellingly. The old adage third times the charm certainly applies on ‘Wrong’.

Here they produce a sublime effort, with the hip nuances in the running growing in appreciation alongside the lean angling of the guitar that lends it all urgency. Fourth track ‘Sometimes’ is also deliberately led in. This is a catchy number that is buoyed by the candid appeal of the delivery. Built from the ground up, there is an empowering lustre about this one that gets behind the playing expertly. This fuels the catchy side and imbues it all with a marked combination of style and substance.

‘Only Time Will Tell’ finds its worth from the opening and this is something that is very much taken stock of. Telling touches in the running bring it through with reverence. The tidy and ample flow of the vocals is carefully distributed and is matched by the tempo. It all comes together and is driven forward with a keen eye allowing it all to fall into place. They have their eyes on the prize with ‘Some People Don’t Get Along’.

What drives it on is also highly represented in how it breaks down. All in all it is a collected attempt from them that very

10 much shows a fine degree of ability in the definition that carries it through. A noir texture comes to pass on ‘Stabilize To Explore’ that is expressed cleverly. The distal placing also finds a place to call home on this one. With the reliant and sturdy flow coming through they prise the song open and raise their game comfortably at the same time. Hints of U2 are also noted from this for all the right reasons. We then come to ‘So It Happened…’ which is a full on affair. Not letting up from the off they trade on this in an ambitious way. It is a clever offering and one that sees them very much call the shots as it charges along.

‘Who Do You THINK You Are?’ brings a lot to the table. Loftier ambitions are realised from what is caught by them and they duly oblige things through in a way that leverages the calling in an exact way. It is a superb tune and one that is appreciated in the handling in the way it deserves.

They show an excellence again with ‘A Million Ways’. The way that things are held together on this one has a high degree of poise and definition, while the thorough showing to it is exacted in a way that measures things independently by design. ‘The Only Thing About Love’ sees their retro leanings used to full effect. A comparison with GARY NUMAN is drawn from the synthesised beat, and then it is held up by the impeccable manner that it is guided through. It is a personification of what they can do and is a bold tune that comes through in a favourable way and weighs those considerations appropriately. The intriguingly titled ‘…’ brings the album to a close. The intricacies allow it to find its feet from the very start. A conclusive calling then sees it step out with aplomb and backed by a fine level of consistency that takes into account everything that is needed and sails on through.

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ORIGAMI HORSES Trashola!

Offbeat and very much a leftfield offering is the opening number ‘When B-sides Mattered’. There is a West Coast vibe to it that engages the punk/garage band tempo expertly. The pleasing ebb and flow here has charm, while the unpolished manner to how it comes across is finely accomplished. Then some indulgence in psychedelic rock washes over on ‘Whatever Happened To The Woodstock Generation?’ and this is an interlude that digs in deep and at a 1:15 running time they get a lot from it. Then there is a hardened attribute picked up on the intro to ‘Velvet Rock’ which drives it on. The precise calling of the flow is one that is expertly calculated, with the breakdown on show getting things moving from the off. The drift of this is one that is both fanciful but full of substance. tune that finds its own niche in how it collects. That is apparent in the drifted qualities on show, but there is an inspired calling in the transition of the delivery and overall composure. A suitability matches the loftier ‘Surveillance Suits You’ from the ambience that presides over the delivery. Flitting between the withdrawn and sullen beats to a more engaging, highly charged beat is a clever application which gives it a solid underground appeal. ‘Boilers’ is a speculative effort. What is found hanging back in the running is worthy of appreciation. The shades of THE VELVET UNDERGROUND that they can be compared with are justified, but this is not an imitation or homage, it is a firm case of the band asserting their own identity. They do draw strongly on the kitsch here and it weighs in appropriately.

9 They show that they are no one trick pony with the enigmatic ‘Ruby’s Magic Circle’. This is a conclusive effort and the marked changed in direction is picked up from the playing arcs. As an interlude it affirms the foundation for ‘Love As A Near Death Experience’ to build upon. This is a track that contributes a great deal from its inclusion. ‘Dumb Luck’ then sees them return to full on songs over interludes. The exquisite flourish of the tracking crosses over with the best of intentions on show. There is a lot located on this one that impresses in how it is placed and considered and it has a PIXIES like showing about it. With ‘Rock’ they again seem to offer a brief showing, but seem to also invest a great deal into the running that brings it together in a way that defies its brief running time of under two minutes.

The album’s token long player is ‘A Spoken Word Introduction’. This is one of those songs that clocks in admirably. The tempered ease that the rhythm is ushered in with is highly impressive. What it manages to determine in the running guides it through. The bespoke reasoning here is proportional to the spatial trappings and as a result the song comes to be realised as a progressive offering in their hands. That is then succeeded by ‘Year Of All The Dying Horses’. It is a defined effort that has an implicit calling from the rock angle that drives it on. The urgency is also something that is well considered and lights it all up in the right ways here. The album is closed by ‘Double Chime’ which takes them back to their experimental/alternative approach. A minimalist calling hangs appropriately over this one, but they are unafraid to push the envelope with the delivery. What that results in is an accomplished and endearing effort that pulls the margins closer together whle still managing to display their brilliance. The bold strokes fed into the play are highly involving and evolve the sound brilliantly.

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BIRDEATSBABY The Bullet Within

One of the great advantages that a physical CD has over a digital download is the appreciation you can develop for the artwork alone. This is a very artistic album and the cover is impressive. As to the music, things shoot straight with opening track ‘The Bullet’.

A delicate worth is found in the kindled flow in the arrangement. The savoury and opportune vocals also piece this one together with a telling sense of indifference that sees them play to their strengths.

‘Drinking In The Day’ captures a morose and emotive balance that denotes the resolve of the tune excellently. The spacing in the piano arrangement serves to hold the minimalist calling in a comfortable way.

With the gothic overtures of ‘Enemies Like Me’ the album takes a darker direction. But it has something in the keepsake appeal as well that keeps it on course. The string section creates a savoury pretence as well that complements in a fortunate way. ‘Ghosts’ is one of those tracks that are brilliantly pieced together. The heft of the piano imbues it with a lustre presence and that is carefully considered in the flow of the tempo. A staggered and patient realisation is set out here that is cleverly crafted and comes together superbly. This is what completes things but it is the ambition in the approach that gives it stature.

Absolved by an anomic calling is ‘Hands Of Olac’. This is pieced together in an ornate manner and the sweeping style hanging behind commendably falls into place along with the partial running. The sentiment

8 is also accommodated on this one in a way that branches out solemnly.

There is a mutual admiration An influence of polka and eastern European folk music is noted on the progression of ‘Spiders’, but there is also a nuance in the tempo from the electronica side of things. That creates a lucid development that circulates accordingly. It is a tune that is finely purveyed.

After that we have ‘The Lighthouse’ which emphasises the vocal harmony sufficiently. This befalls in a convenient way and the lay emotive manner lays the foundation for ‘My Arms Will Open Wide’.

This tidy little number belongs on the album and the reasoned flight of the delivery fades into being impressively. The passive gravitas awakens the delivery in a truly trustworthy way that prevails expertly. A pure of heart resolve also absolves this in a blissful way on the bridge.

The last track here is ‘Silence’. This is a masterful offering and one that leaves its mark. The specificity about this track that is not necessarily there in the others helps form an identity about it that is expressed sufficiently. abounding on ‘Into The Black’ that is shadowed by the darling reach of the tempo. This is a seasoned passing that plays to the opulence. A second interlude that calls on the morose side figuratively then follows.

‘Tenterhooks’ is an effort that is the making of its own devices. How it tentatively hangs is a considered calling that spills forth tellingly. The darker derivative getting underneath the playing gives it a shapely demeanour as much as it does a rotund carriage that fluctuates in the rhythm.

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International Artists

DEAR FREDERIC Outlast

Review by Jamie Kelly

The first track here is called ‘Lakeshore’ and is a really catchy tune. The synth work is superb, meaning headphones are essential for listening because it creates a strong atmosphere throughout, yet there is a slight lack of diversity in some ways. The title track comes next.

‘Outlast’ starts off nice and funky with a sweet groove to it. I thought the vocal performance on this track was pretty impressive. The melody in the middle was one of the highlights out of all the music I’ve listened to this month. I just couldn’t get enough. Overall it is more than just a great track. The third song off the EP is called ‘Against Your Pillow’. The sweet melody that starts it all off sets the tone. Again this is one of those tunes that has a nice groove to it, but again doesn’t really change nor develop throughout. Towards the end the intro melody comes back in to effectively implant it in the listeners mind.

Fourth track ‘Stare Into The Light’ is a little stranger than the previous offerings. It creates an eerie atmosphere that is slightly creepy in a way. Toward the end things develop a little more before cutting out. The last track is called ‘Dana’. The start is a slower affair but doesn’t really go far from there. It is a really nice piece of music that is relaxing. The effects used on the vocals added some nice depth to the sound and make it a great track, I think it might be a little anti-climactic as the last song on the EP but that doesn’t really matter because overall there is a FOSTER THE PEOPLE vibe going on that works extremely well.

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EDEN

Crying Birds

Review by Jamie Kelly

The first song on this EP Is entitled; ‘Blue home’. The tune starts out with a nice little vocal intro making the harmonies highly effective. Then things progress with a good flow throughout that integrates with the vocal performance in a superb way. This sets the standard high for the other tracks to follow. The second of which is called; ‘Angels’. Toned down a bit in comparison to the previous track, I thought that the guitar work really stood out on this one. The groove on this is quite uplifting, with the instrumental section in the middle a fantastic addition.

The third track on the EP is the title track; ‘Crying Birds’. This song opens with a brilliant guitar intro that creates an atmosphere for the rest to follow. It is also strong lyrically with the title well implemented to provide a hook for the listener. ‘Not In A Bad Way’ is a bit more upbeat, although the lyrics are quite intense. It’s very ‘pop’ and has some great radio potential. Like the previous effort the title is well implemented into the tracking adding to the radio potential. I thought the backing vocals on the track were very effective.

Both of the singers have a similar tone that complements each other. It all closes with ‘I Will Be’ which opens with a simplistic guitar intro. The vocals come in on top and subsequently send everything into full flow. A few impressive guitar techniques shine through, particularly in the strumming area. Again the vocal performance is exceptional, a trait evident throughout the entire EP.

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CONSTABLES

Bedroom Culture Opening number ‘Ludovico’ is a powerful track and has many outstanding traits. With the vocal melody throughout being something that really complemented the bass line. This is a song that is very well pieced together. It has a wide, dynamic range. The chorus is really catchy and definitely gives things a good hook. There is also a great deal in particular to like about the ending as well. The next song is entitled ‘Run’ and starts out with a quirky little drum intro. They are what actually stand out on this one. The beat change in the verses and choruses is highly effective. It adds another dimension to give it more impact. The song tones down a bit toward the end before building up for a strong close.

The third track is called ‘In Circles’. The nifty little guitar riff time things right and it is not long before the bass and drums come in to send it on its way. Here the vocal performance on is exceptional. The melody really drives things onto the next level. The chorus is again very catchy and a small guitar solo sees out the rest of the song. The last track on the EP is ‘Wear Me Out’. Here the intro projects a real sense of omnipotence. Things kick in straight away the intensity rides high. The change to half time for the post chorus riff is really cool and gives the track a bit of variety without things straying too far throughout the track.

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PASSPORT TO STOCKHOLM Chemistry

With ‘Chemistry’ the readied resolve of the approach here catches a good angle with the folk reasoning here that cross over and meet with the indie calling. The patient sentiment in the tempo seems to guide it and carries it all through, while on the whole there is a fine face value to be considered for the vocals as well. After that comes ‘What Have We Done’ and this keeps a comfortable tracking in vogue. The soft flitting of the string arrangement keeps things in perspective before elegantly developing reach from the sullen passage that comes to bear on the running. The attractive qualities are lined out by intent and they are well pitched to give the composure balance. In the vocal hooks this approach is also adopted to good effect.

Then the resolve stacks up on ‘Carousel’. The closeness on show is an infused one that displays a warranted attraction in the resolve as it picks up.

This is a tidy effort that is courteously coined from the same cloth as a lot of contemporary artists, and while it may not push the envelope, it does hold its own. Then the fourth track here is ‘Reality’ and the ornate trappings of the rhythm orchestrate a lot and point the song in the right direction. Here they are the authors of a tune that can lay claim to being more than the sum of its parts. The uncompromising lyrics have an intelligent calling that doesn’t fall short. What is also gauged carefully is the pace and the elegant way it steps out brings a fine sense of completion to it all. How it climbs is a pleasing affair that makes the appreciation easy to find.

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JEMIMA SURRENDER Ask Me Again

There is something in the patient alignment on first track ‘Anathema’ that gives it bite as it also takes flight. That endears you from the display of endurance captured in the tempo that is well reasoned and the drift of the tempo is a persistent one that rocks out with an unapologetic reverence that gives it everything needed. The steadfast feel of the tempo ushers things through commendably with ‘Reverse Long Chase’. In the anomic breakdown is an outline of a great tune in the making. A thoughtful consideration this also contended with neatly and fashions the right calling in how the grounded alternative guitar lick filter through in the rhythm. The yearning of the song resides by design and is comfortably worked into proceedings.

‘My Brother’ has no reprieve given as soon as it picks up. The favourably way that it is all laid out fronts it in a big way. Be it the appeal and charm of the vocals, or the brisk running of the rhythm, everything falls into place to produce an outstanding effort that is top drawer from start to finish and wouldn’t look out of place on a FLORENCE AND THE MACHINE album. In fact, it makes you do a double check to that effect. The EP closes out with ‘If You Sit In A Barber Shop Long Enough, You’re Gonna Get A F**kin’ Haircut’. This is a duly raised effort that smartly bides its time. The taut considerations of the build are considered in extensively which also play to their strengths. The stillness residing commands a lot and takes hold before a harder calling chaperones the tune before it hangs back.

The flitting between both approaches is carefully administered and gives the running a pertinent display.

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DANIELLE SMITH Little Seeds

Opening number ‘Sitting On A Fence’ derives a sense of certainty from the keepsake displayed in the lyrical content.

This is something that connects with the admirable calling of the tempo, displaying a robust country yearning that fits around the song as a whole. What is also appealing is the assertive air about the running that catches it all figuratively.

After that you note the Southern influence on the willing through of ‘Blacklines’. That is spun with a marked sensibility on show that sets a precedent for the effort as a whole that captures its heart. The maternal attributes of this one are also a very determined procurement. Then ‘Abandon Me’ reaches forth with a fluidity about it that negates the timely running. The softer touches of the vocals harmonise the running and build competently. All in all, the musical side of things is considered fully and it accommodates her ability as an artist in an excellent way.

‘Foghorn’ is a tune that steers things to a point of conclusion.

The endearing grab of the song is secured from the hearty formulation in the tempo. That is something that smoothly travels through to corner a very honest and abject humility that is found naturally in the song from how it is laid out.

The arrangement is also a promising call that resolutely flounders. Then we come to ‘Miles’ and there is a tranquillity called upon in the delivery that is a graceful overture. Added to the appeal is the bequeathed ease of her voice that unravels in the running to bring the longing of the track through with a solid sense of togetherness that is highly agreeable when you hear it play. The savoury kick found in the tempo to ‘Empty Pockets’ is something that travels well.

What it does inspires the delivery as it collects. The pockets of the running also sift through with a remarkable temerity in their composition that goes an incredibly long way here towards garnering the appeal, which is nailed down pat from her vocal delivery as well. Her final track here is ‘Once I Was’. The wounded calling of the narrative here collars the reflections in a confident and endearing way. There is a majesty that purifies the running here but also comfortably comes home to roost with each line that is carried off. It is a song of immense depth.

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NEW ELECTRIC RIDE New Electric Ride

The 60’s psychedelic allure of ‘Mr Bumblebee’ captures something that is nothing short of excellent. The heart of the song is there in the apparent imagination that has resulted in its conception. In terms of the arrangement and musicality that is a quaint touch but one that denotes a true level of substance flagging it all up.

With ‘Bury A Mule’ there is a more inclusive feel tot the texture of their sound. The perused vocals reside here and tellingly capture the right balance between earnest intent and passivity. This is a combination that is stared down in a trustworthy fashion with the resolve of the band assured form how accountable this one comes to be in its showing.

The psychedelic licks of ‘lovers’ is a romanticised effort that takes it places. The rich and ardent appreciation in the strokes forms a rich barrage of sound that takes you along for the ride. The stoking of the delivery from the guitar is a pleasing one and it commendably presides over affairs but does so by way of design. Things become a more encompassed affair with ‘In Chains’. All of the instrumental touches here exude a pedigree as much as a stark ability. In their combination the song is backed to the hilt, but the exuberance of the vocals also provides it with an extended reach that comfortably holds its own. ‘Stone For Stone’ sees a remarkable EP closed out with the style it deserved. This time around the sullen attributes also have a slight jazz leaning to them. That seeps through in the tempo before picking up in a way that strips the delivery bare. That elongated display in the sound is one that is rotund and allows the tranquil allure find a place of prominence that navigates the rich headways of the delivery all the way through.

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CLINTON ROAD Flagships

‘Oh Melissa’ is a truly telling tune and the wholesome manner that it opens retains a consistency in terms of tempo. It drops off slightly in the askew calling, but it also conveys the sincerity in the delivery as a whole. The forlorn leanings in the lyrics call things out in a requisite way and float the song in a believable way that proves its worth. A more hardened meander filters through in the spry running of ‘Days Gone Bye’ and that endears the edged calling in a clear way. The acoustic approach in the guitar calls the softer side of it through, with the stirring of the rhythm being something that captures a spirited turn of events which lights up in the right way.

After that comes ‘Fly Away’. The hedged calling goes a long way on this one and the requisite way that it steadies itself counts for a great deal. The well measured weight on show commands the delivery and proves the worth of things in the minimalist callings that are there to be found.

Things also convey a more intended sense of depth that is realised in a way that collects the volume and texture impressively. The closing track is ‘The End Of Our Own’. Again it leaves a lot to be said for the desirable and fashionable calling of the guitar playing. Here it resides over proceedings in a telling way which provides an exquisite touch that comes around in a majestic way. With the shared harmony there is a lot that is assured and carries through with relevance from how casually it comes together.

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THE BAD JONES The Bad Jones

From the engaging roll of the blues that kick in on ‘Eye To Eye’ the sobering call of the tune cuts to the bone. That then hangs back and pays off impressively. The dutiful blend of funk that comes to pass with the delivery also elevates the robust showing and allows them to cleanly express themselves through their music. Then we get ‘Revert’ as a follow up. This carefully considers the calling on all fronts. An eventual tune and one that is highly engaging, the flourishes of rock prosper here impeccably. There is a cool and steady groove to it that shows the band mean business when they play.

There is something squared away on ‘Tambourine Girl’ that takes pride of place. All of the running here picks up gradually, with some roadhouse elements also gifting it a deserved appreciation from how they are factored into the equation. The even temperament in the delivery shows and catches things in an inspired way that shoulders the play tellingly. When it gets going you most definitely sit up and take note. Then they become defined somewhat by the elegant way ‘Chariot Of Stone’ steps out. The candid resolve of the tune is something that they embrace in a highly superlative way. The vocals also carry a heft that is to the benefit of the delivery in a telling way from how it is carefully called upon. The fifth and final track is ‘Animals’. This is a rich effort and one that embraces their rock leanings excellently. The lean urgency bites hard and the resonance of the playing stands for something. Then a more progressive turn sees the arcs become more ambitious but it is an exceptional tune all the more for that approach.

That ambitious scope allows the expansive side to drop out when it suits them but they lose nothing in terms of tracking or volume or transition as it does so.

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FORCE PUBLIQUE Pure

Pure is the freshman offering from this alternative Portland outfit. It is certainly something that makes for an intriguing listen.

They embrace the characteristic side of the organic texture on ‘Sacrifice’ which sees them push the expressive envelope in what they do.

The alternative leanings are explicit and it is an experimental offering that is evenly tracked. As a result the occurring balance in the tempo drifts through in a well sustained way that collects the volume deliberately.

That New Wave appeal/kitsch is again carefully administered on ‘Illuminate’. The steadfast reach of the running here is an abject turning that gauges a darker touch and a comfortably numb derivative. But it also seems to correlate in a way that finds solace from that withdrawn showing. In the organic and fluid motion of ‘Fragile’ they corner a sullen side. This is dutifully considered and comes to pass in a pertinent way that is effortlessly worked through with the remnants of the song isolated by design. Those margins in the play round it all out and allow them to embrace the expressive side figuratively. After that comes a synthesised appeal of ‘Selfless’. Harbouring that in the delivery allows them to build the scope in a well calculated way that is willed into being with a graceful exuberance to it that is cleverly matched which in turn yields the just reward for their endeavours.

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International Artists LUPA Statues There is a precision to this tune that sculpts a tasteful relevance that carries through with the detail of the arrangement. The sullen attributes also fashion in a determined way, while the essence in her voice also guides it through with a mark of distinction that tailors all of the arrangement towards an invested conclusion. In the volume of the poise that resides a fine showing of artistry is also picked up on.

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GANGS Daisy

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We have been seeing a fair bit of this band and they are on the rise. This hits the ground running.

Judged well from the pumped up calling in the tempo it is a finely realised effort. The catchy hooks in the guitar evoke the spirit of THE JAM and that raw derivative is channelled here but sharply kept in focus. That is what gives it heart but the intent is noted for all the right reasons. It is one of those efforts that imbues the combination of style meeting substance to great effect.

International Artists

PAST LIVES Torn From The Womb

This is a prevailing effort and one that places an emphasis on development in the spatial calling of the rhythm. In how it is gauged and carefully distributed there is a heightened reasoning to the development, which embraces that approach in a distinct way. How that inverts the running carries a totality that is rich in texture, while the noted flow of the vocals also presses ahead figuratively. As an alternative effort it gets a lot right and allows the music do the talking.

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CASTLECOMER Fugitive

10

This is an absolute belter of a tune that gets straight down to business. The hardened flow of the tempo is one that illuminates the drive of the song and is a handsome effort that comparatively comes together. In the vocals there is a liberated sense that unfurls when it is all let out. The unbridled appeal also commendably steers things through but does so with incredible vigour.

RAINY DAY WOMEN Mars This is a brilliant tune for all the right reasons. The pertinence in the withdrawn derivative of the vocals weighs in considerably well. Added to that is a flair that touches on things in the right way and is allowed to come through in an undeniably hip way that cleanly makes its way through. The resilient drag of the tempo is another calling that brings balance to the delivery in a strong way.

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CARRIAGES Roots

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This is a solid tune that is immediately figured out from the nou disco leanings from the off. The leftfield calling combines extremely well with the synthesised elements giving it all a more engaging structure as the tempo comes full circle. The nouveau appeal is confirmed in the retro markings that gratify the allure in all the right ways.

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MEXICO CITY BLONDES Fade

International Artists

This is a superbly condensed offering that is completed by the opportune way it is expressed. The traipsed vocals get beneath the playing in a sweet way. As a result there is a lot going for this, but the fluid arrangement allows the tempo to collect in a manner that is rather inclusive and rich in depth. It is also noted for the poise that gives it a more defined reach and richer appeal.

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RACING GLACIERS VHS

10

This is a tune that grabs you when it gets going. A gifted sense of urgency that offers no reprieve gathers in the later progression here that comes together in a telling way. In the refrain of the guitar hooks resides a tune that embraces an alternative approach as much as it does a referential indie one. But it is the cool chic that is tidied away on the overall running here and how it follows through that you really take note of. It is a display of expertise that you rarely come across.

ACE CITY RACERS Different Angle The bass here is something that you pick up on. How that steadies the rhythm allows International the charm of the lyrics to take their toll. What is exercised from the clean way it all feeds in tidies the running but also ties it all together. The heightened pitch of the tighter aspects show for all the right reasons and there is something specific about how it all unfolds that you take note of.

Artists

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INDIA MILL Caribesque

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The mooring of the tempo presides in a determined way. How it collects allows the song to find its feet and gives it a patience to build upon. That is carefully considered and the opportune hold it retains gives way, while the net worth of the song as a whole is there to be found from the appreciative awning of the way it comes together collectively. This is one of those tunes with an allure all of its own in the trappings.

THE ANTI RETRO VINYLS If I Had Your Daddy’s Money Great tunes are born not made. That is the best way to sum this up. The catchy way that this is pieced together is immediately apparent. The reach of the tempo, alongside the carefree sway of the running, grants it a high level of appeal. But the licence is one that is not allowed go to waste because the shots are called by the hardened cut as much as it is the determined bounce in the step that sees it through. Put it on play and press repeat because it is a good one.

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MAKINGS Heart Attack

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This is a double side with the title track being a New Wave effort. The synthesised virtues of the song are realised in a determined way. The vocals also spill out favourably. It begins patiently before the formation of the play very much brings it through with a determined resolve. The other track is ‘Man On Fire’ has a more enriched texture that is subtle in how it is considered. A referential feel takes over from the very second the vocals spill out. There is a dark and gothic procurement on show as well, and that crosses over with the organic flow that is impeccably measured. The dark side of their style is an indulgence here more so than a defining quality.

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MARY JOANNA AND THE SOUTHERN ELECTRIKK

Wasted

International Artists

You know when you have heard a great song from the first second or two and that is the case here. There is an apparent reach in the appealing shoegazer flow, but the vocals also bring it together and the passive stirrings are impeccably realised. What is turned on here is incredibly stylish and the sway of the rhythm draws you to it like the sirens of Greek mythology from how alluring it is.

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ALLUSONDRUGS Nervous

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This is a telling effort. In the handsome appeal of the beat a lot seems to work. The scope is something that holds relevance. There is also a lot to be admired from the plush and weathered calling of the vocals. In the endearing way that this is all pieced together you see how much appreciation is worked into the running from how figurative it all holds. The indie credentials are assured but also laid bare on a fantastic tune from start to finish.

JIMMY AND THE REVOLVERS Whistle For My Love This is a tune that has a mainstay appeal on so many fronts. The pleasance of the International vocals is a tidy procession that captures the right balance on the delivery. It has a curt attribute that lights up in a telling way and one that is able to sit right. Overall it is very elaborate with the Mediterranean overture in the bridge also procuring an enchantment that kneads things through in a highly resolute way that is brimming with flair.

Artists

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KOSOTI Bark And Sticks

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Carried through with an innate reverence in the tempo sees the folk influences light up the running in a way that is not found wanting. That beatification is there in the ascendency as it moves, but what it has in the rhythm doesn’t necessarily come together as much as it could in the lyrics. Vocally it is quite efficient and the patience found there is admirable, but it lacks something to take it up to that next level. It is found wanting somewhat because of that.

TEENAGE WILDLIFE The Last Great Love Affair This is a very impressive tune. The dreamy way that the rhythm collects is a fresh and novel one. The electronic trappings find the worth of the song and leave you in awe of how good it is.

The richness of the resolve works wonders and it is a testament to how invigorating it is. The robotic vocals also neatly guide things through. A sense of completion is captured here as much as there is an obvious display of innovation.

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CALLUM ORR Short Supply

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This has a handsome calling fed into it from the guitar. The pace is something that is well checked. In the heart of the song is a truth that is held up to be admired. The fashionable weight of the running evens things out and the splendour contently brings it through with a stark efficiency. What is also commendable here is the depth of the arrangement framed from the play here that firmly places that to the front in a highly appreciated way.

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This is the August 2014 4x4. It is an editor's pick of four videos by four artists selected from four of our music networks.

At U&I we work with 94 co-ops across 49 countries and the music network that the recommendation comes from is indicated in brackets.

GHOST ESTATES "In Your Dreams" (Dublin)

ROMAN REMAINS "Tachycardia" (London)

THE HOSTILES -

"For A Good Time Call 07946058256"

(Glasgow)

MINUIT MACHINE "Sabotage" (Paris)

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